Multicam: syncing and switching angles

When you import footage from several cameras covering the same moment, Eddie recognizes it as a multicam group, syncs the angles, and lets you cut between them.

How syncing works

Eddie aligns angles by their audio, so every camera shares one clock. Once synced, switching angles never drifts out of sync.

Switch angles by prompting

• "Cut to the wide shot when the guest starts talking."
• "Use the close-up for the punchlines, wide for everything else."
• "Cut between the cameras so we're on whoever is talking, and use the wide shot for the back-and-forth." (Alok's canonical podcast prompt.)

How Eddie cuts the cameras

Left to its own judgement, Eddie edits multicam the way a live director would:

• Stay on whoever's talking. The active camera follows the current speaker.
• Wide for the back-and-forth. When two people trade quick lines, it holds the wide shot instead of whip-cutting between close-ups.
• Don't cut on every "yeah". Short reactions and filler don't trigger a switch — cuts land on real turns in the conversation.
• No dead angles. If someone has no camera of their own, Eddie falls back to the wide; it favors the sharpest available camera for each moment.

Check and fix grouping

If two cameras weren't grouped (or the wrong clips were), tell Eddie: "these two clips are the same multicam group." And footage you add media later can join an existing group too — tell Eddie which take the new clip belongs to and it syncs it in as another angle. See Multicam: sync cameras across imports.

In export

Multicam exports differ by editor:

• Final Cut Pro preserves the angles as a multicam structure.
• Premiere Pro receives the angles stacked on the timeline — the chosen angle on the top track, alternates below with their audio muted, so every angle is there to swap in.

See Export to your editor for the full matrix.